In December 2015, collecting society PRS for Music published a summary of responses from its consultation on the terms of its Popular Music Concerts Tariff (‘LP’) that is applied to ticketed live popular music events such as concerts and festivals. To discuss the document, we asked Mark Davyd of Music Venue Trust to comment from the perspective of live music venues, and we asked John Markey, drummer and backing vocalist in Glasgow band Young Aviators, to give the perspective of a musician in receipt of PRS royalties.
The PRS for Music Review of Popular Music Concerts Tariff is in progress (‘Tariff LP’). Originally scheduled to end on June 8th, it has now been extended to September 30th. While the review continues, and as we await the findings, Kenny Barr introduces some of the main issues at stake.
Today’s post marks release of a new report by Live Music Exchange team members Adam Behr, Matt Brennan and Martin Cloonan – The Cultural Value of Live Music from the Pub to the Stadium: Getting Beyond the Numbers
This week’s guest blog post is by Andy Inglis, in which he argues against the idea that the Live Music Act 2012 is necessarily A Good Thing by considering the potential downsides of the Act.
The fourth edition of PRS for Music’s Adding Up the UK music industry paper explores the value of the music industry and its income streams for 2011.
Report by PRS for Music showing the ‘big numbers’ for the music industries in 2008.
A history of Britain’s Performing Right Society, founded in 1914 to represent writers and publishers of all styles of music.